Page 38 - Fujifilm Exposure_43 Slumdog Millionnaire_ok

FESTIVALS & EVENTS
AIRINGNOVEMBER THECOMMANDER:ABDUCTION
Photo main: Mark Lewis Jones with Amanda Burton as Commander Clare Blake; right: DP Nigel Willoughby and scenes from
ITV1’s The Commander: Abduction
GALLIC GLORY
ohn Crowley’s Boy A, originally Jseen on C4 earlier this year,
won four of the top awards, in- cluding Grand Prix jury – The Hitchcock d’Or, at the 19th Fes-
tival du Film Britannique de Dinard in October.
Shot by Rob Hardy on 16mm Fu- jicolor ETERNA 500T 8673 and Super F-64D 8622, the searing drama, with Peter Mullan and Andrew Garfield, earned him The Prix Kodak for Best Cinematography.
he fifth series of ITV1’s The TCommander features murder
and baby abduction in a three- part drama, written by creator Lynda La Plante and directed
by Gillies Mackinnon.
It stars Amanda Burton as Com-
mander Clare Blake, together with Mark Lewis Jones, Paul Brightwell, Dilys Laye, Crissy Rock, Jennifer Elli- son and Claire Skinner.
The production re-unites Mack- innon with DP Nigel Willoughby after earlier collaborations like Trial & Ret- ribution XV1, The History Of Mr Polly and Gunpowder, Treason And Plot.
Says Mackinnon: “Nigel and I have done a number of TV and film projects together. Lighting is always hugely important. It has to suit the pace and rhythm of shooting, other- wise you can run into real trouble.
Over a three-hour-long drama, the right lighting is essential to keep the energy going. Nigel is great at that.”
Adds Willoughby: “yes, I have a very good shorthand with Gillies, and Thank God for it because you just don’t have much time on these things, which is also why I always try and get my own crew on board.
“We were filming five to seven minutes a day, and shooting on 3- perf 35mm which is a joy. The differ- ence between 16mm and 35mm is quite profound even on TV, and great for us cameramen.
“My main challenge was proba- bly the main police station location in an old disused building overlook- ing Blackfriars Bridge. Controlling the weather from that office was dif- ficult. We worked it all out carefully and I had 18ks on cherrypickers right round the building. In the end, I think we did quite well.”
The Commander: Abduction
was originated on 35mm Fujicolor ETERNA 500T 8573 and ETERNA 250D
FRANKGELL1945-2008
rank Gell, who has died of can-
F
working on films like Leaving Lily, The Fantasist and The Pope Must Die as well as episodes of BBC TV’s pop- ular Smith & Jones and C4’s The Comic Strip Presents.
As a clapper loader he had worked with Nic Roeg, Alex Thom- son and Tony Richmond then en- joyed a fruitful spell working in commercials. Gell moved seamlessly from focus puller to Director of Pho- tography. His is knowledge of film- making and talent for mimickry was legendary in the industry.
cer aged 63, graduated from run-
ner – starting at Rank in 1961 –
to respected cinematographer,
Boy A also walked away with The Grand Marnier trophy, awarded for the Best Screenplay (to Mark O’Rowe), and the Hitchcock d’Ar- gent ‘Le Prix Premier du Public’, awarded to the public’s favourite film of the festival.
Hunger took home the Heartbeat Award, awarded by a group of French distributors who will release the film in all their theatres, which equates to approximately 40 cine- mas in the Brittany region.
Photos from top l-r: Andrew Garfield in Boy A and DP Rob Hardy; above: Michael Fassbender in Hunger
36 • EXPOSURE • THE MAGAZINE • FUJIFILM MOTION PICTURE